Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from the UAE and from Bologna.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1964 to 1973.
I'm losing my edge.
To all the kids in Salvador and Edmonton.
I'm losing my edge to the art-school Salvador kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1979 at the first Second Layer practice in a loft in South London.
I was working on the güiro sounds with much patience.
I was there when Tom Verlaine started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing A Certain Ratio to the grime kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by the Association. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every Circle Jerks record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Real Kids record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
Barrington Levy,
Eric B and Rakim,
Skaos,
Charles Mingus,
Skarface,
Delon & Dalcan,
Rowland S Howard / Lydia Lunch,
Fifty Foot Hose,
Minny Pops,
Trumans Water,
Art Ensemble Of Chicago,
the Association,
Arcadia,
The Gap Band,
Moss Icon,
The Cowsills,
Ash Ra Tempel,
Kool Moe Dee,
Magma,
Toni Rubio,
LL Cool J,
Bauhaus,
Von Mondo,
Scan 7,
Zapp,
The Alarm Clocks,
Skriet,
The Fall,
Terrestrial Tones,
Boogie Down Productions,
Beasts of Bourbon,
Todd Rundgren,
Ludus,
Pierre Henry,
Wally Richardson,
Bootsy Collins,
Sexual Harrassment,
The Vogues,
Junior Murvin,
Monks,
MC5,
Little Man,
Robert Hood,
X-102,
Thinking Fellers Union Local 282,
Eurythmics,
Black Sheep,
Ossler,
Danielle Patucci,
It's A Beautiful Day,
The Remains,
Nirvana,
Joyce Sims,
Wire,
Johnny Clarke,
The Techniques,
Funkadelic,
Lebanon Hanover,
Accadde A, Accadde A, Accadde A, Accadde A.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.